Yes. However, there is a misunderstanding that playing involves relaxation, but when we are relaxed we cannot move either. Being floppy and relaxed is problematic also. The body has to be organized for ease of movement, speed and power without conflicting use of muscles or relaxation.

Yes. Solving these injuries is a process as they are a result of deeply learned behaviors so it can take time to peel away the layers of misinformation in the brain and body, but learning the basic movements relieves pain.

Yes. When we understand that we can learn the specific physical movements that produce certain sounds, singing tone, off-the-string strokes, double stops, color, nuance etc. we can solve technical and musical limitations.

This is not a general body approach, it is specific to the technique of playing and the music itself. If the body feels good in general but we do not understand or have the physical knowledge of how to play a passage of tremolo in orchestra for example, there will still be pain/discomfort/fatigue. Playing has to be understood in its own terms.

It is possible to play pain free and fully recovered.

Many people come having tried all kinds of other avenues but with no results. The first thing that strikes them is how simple and logical the solutions are. The information makes sense and feels right. In addition, there is all the support and guidance necessary throughout the process.

It is concretely about the playing and the music.

Yes. When the playing is based in physical logic that we recognize and understand, it becomes a skill rather than being forced to happen. We know that we have the knowledge of how to do something. The playing is there and ready for use, just like talking and walking. We can enjoy it.

There is no simple answer to this as it is a process. When we fully engage with the process, the body and brain make changes as rapidly as they are able to. 

No. Learning the tiny movements involved in playing usually requires very short amounts of concentrated time, particularly at the beginning.

Many people find that with guidance and support they can integrate the process with their work.

When we recognize and feel how the body learns the movements we can help the process along. Understanding when to stop practicing is as important as understanding when to practice. Much work can be done away from the instrument too.

If it is to solve an injury, then regular, weekly sessions work best. If it is to prepare for an audition, a specific event or address playing limitations, then less-regular sessions or a group of sessions can work.

For injuries: Most first sessions involve assessing the nature of the problem, starting to recognize, feel and work-in some basic movements and creating a plan of how best to move forward. No performing is necessary, often just open strings, a simple scale to see how things are functioning, but in some injury cases there is no playing at all.

For non-injuries: If repertoire passages are to be addressed, they just need to be scanned or photographed and sent ahead of time. The problem passages will be addressed directly.